The Pixel Crush

-------------------------------------------|Digital Animation & Game Criticism|-------------------------------------------

Thursday, 26 November 2009

The Incident

For the last few weeks I've been working on something for the ANIMATE+ course competition, just as an incentive to do something outside of the course assignments.
It took the form of, not really a music video, more of a song set to imagery. Porcupine Tree's "The Incident" is a very visual song in terms of its lyrics and soundscape, so I felt complelled to try and make an accompanying narrative that matches the story told in the song. The preproduction was fairly minimal, I have a sheet of timings and descriptions pinned to my notice board, thats it, so its evolving as I go. The production itself has been retardedly labour intensive, its taking way longer than I thought it would, which I suppose is to be expected given the medium I'm working with. Also I hadn't anticipated the process of creating all the assets from scratch. Here is the original car that is seen driving along a road at the beginning:

This I drew using Photoshop and my graphics tablet, using an old photo of a burt out TV for the metallic texture of the car's body. The windows are a separate layer to allow for different blending modes in the composition, the windscreen wiper moves independently, as do the wheels, and the lights are a different layer for special reflective material properties. All this is a pain in After Effects but the end result is gorgeous so...
Though I did discover parenting in a quest to simplify all the keyframes. Parenting allows one layer or more to follow the motion of a parent layer without having to all the keyframes of the parent. Still, it screws with your mind when you're having to keep track of all these lamp posts and their respective lights!

Next came the lighting, here is a test with a makeshift background; this is what adds real three dimensionality:
ooooooh motion blur ;)

Then I experimented with camera moves and depth of field which was fun, though combine this with motion blur and shadow diffusion for the lighting and my laptop is no longer up to the job of rendering a single frame at full resolution (sweet, sweet HD). Here is the depth of field:

I thought it was starting to look pretty sic at this point, though nothing has really actually happened, which is what I'm working on now. Syncing it with the song, adding traffic, signs, and starting to tell the story.
On the way I digressed into a little titles sequence that inhabits the first 12 seconds of the song, I also a some post processing using adjustment layers (another feature I hadn't utilised before) and added rain, colour balance, glow, and some film grain:

No rain in this shot though. Just nice puddles :)

I will update again soon as more material emerges, and this project continues to engross me and rob me of unhealthy amounts of time.

Saturday, 21 November 2009

One Small Step For Mankind, One Giant Leap For Me...

The walk cycle. I found this extraordinarily difficult, just the logistics of what moves where and when combined with the timing of each mmovement. Also applying the vague principles of human anatomy to the character I designed (I called him mittenman because his fingerless hands resemble mittens). So while its only 19 frames it took me a good 3 hours to fantastically inefficient, new found awe for traditional hand drawn animation all round. 3D next!

Tuesday, 17 November 2009

Return Of The Prognosticator

I'm now back from the bradford animation festival. It was sic. I cant wait to go to more festivals.

So I've got the festival schedule and a few tickets from my favourite events to remind me what I loved best. The first day was one fo the best, we got to see the extraordinarily high standard of student films of which several are worth noting. Bruce ended up winning the best student film award, stylistically it was slick, and it was a clever satire of the principles behind videogaming, though had a weak ending some thought. Then project alpha: a CGI comedy about the first monkey into space which was engaging and funny with a story exploring the animal instincts in all of us despite the conditioning we undergo. The highly unoriginal and cliche Catharsis was perhaps the most accomplished in aspiring to a specific style (anime), too many films about car crashes though. Operatatatata was hilarious, hyperbolic and well executed in its drama and use of music. Urs i had already heard of and was looking forward to seeing, it was really interesting artistically but a little mundane in the narrative department, though I did find myself caring for the characters in a more conventional way than any of the other films.

That night the first feature was screened- "Mary & Max". It blew my mind, the naive perspective of the child allows the audience to connect with the emotional journey of the films two main characters. Thats the beauty of animation, Mary & Max could handle the themes of mental disease in such a way that it was comic, but not mocking, and powerful, but not preachy. An authentic representation of day to day worries but displayed in the context of an entire lifetime. The narrative cleverly jumps around between the two characters and their pasts through the letters they exchange and the dialogue of each overlaid on the flashbacks. A thing of beauty. Another australian film, from melbourne this time. So many Australian animations, French too.

Coraline next, in 3D! The best way to sum it up is exquisite. Four years in the making, from the director of Nightmare Before Christmas (Henry Selick) and the original novel by Neil Gaimen who is an excellent writer. Nice to see a reasonably mainstream stop motion film not side stepping the darker sides of the narrative. What was really interesting was the presentation by the Visual Effects Supervisor Brain Van't Hul the next day. He outlined the challenges of shooting in 3D, things like interocular distance, depth, painting out the cracks in the models faces from two different perspectives without it looking like a patch floating in front of the face. The compositing used to create the fog for the characters to interect with, each wisp having been shot at 100fps and then matched to the movements that the animators had shot. What was mildly irritating was the pretentious attitude of the director towards CGI when it came to things that would have been easier with CGI and looked indentical but he wanted it his way for no good reason. Like the mice performance for instance. pointless. Especially when they were already using Maya to block out animation for the characters faces, then using this to create resin parts for the actual models. Hypocritical? Hmm...still, inspiring stuff.

Then there was the gaming stuff, we missed most of it during our day of travel, which was irritating. But I did get to see Erik Svedäng's Blueberry Garden talk, or the second half at least. He was a little arrogent, but had some interesting ideas and reasons for making games, namely because he didnt like the games people were currently making. Flower anybody? Heavy Rain? No? still, nice to see, I will be checking out the demo.

Also was a guy from Hello Games (Shaun something), an independant studio made up guys from Criterion etc. Really interesting talk and an insightful look into the timing and processes of game development, wholy unoriginal concept though, but well executed. He talked about stuff like middleware, porting, propriortary physics sytems, animation, assets, check ins, lines of code. Some of it made sense, some of it was beyond me. What was depressing was the cowd, the average gamer, it turns out, is a completely unartistic, unimaginative and undiscerning retard. One guy asked the same question in every talk: "how much did it cost?", its irrelevant in the long run, if you want it enough, you'll just do it! I worry about the industry, perhaps as Erik does, I fear it may never grow into its potential, that people will ignore the possabilities and continue to make sequals to first person shooters forever...

Now I'm home again. and I want to do something creative more than ever.

Monday, 9 November 2009

Let The Carnival Begin...

So Bradford looms ever closer. I'm gutted we're missing the majority of the gaming talks and presentations on the tuesday due to the 10 hour drive but as Georg said: "we're going to an animation festival" games then. BUT STILL! Coraline 3D plus making of, Up, Fantastic Mr Fox(?), workshops, a tiny amount of gaming stuff, a wealth of events I have yet to discover! I know it'll be sic.

Here is some experimental cut out me Charlie and Alice did following Derek's lecture. I have to say I only really contributed to the first half though the shark and skull were mine :) and they did a marvelous job after I left:

My one criticism being the lack of motion blur ;)

Wednesday, 4 November 2009


This man's vision of what games can be is exactly what I want to see realised, and create myself. Inspiring. For people who need the rules of the FPS, or the reward of collectibles, grow up! The videogame's own name has become redundant due to what it has the potential to be, their not "just games" anymore. They are carefully designed virtual experiences. Just look at the controversy over Modern Warfare 2:

People claiming that because "its just a game", its fine for the player to engage in the slaughter of innocents, for them it is no more than a murder simulator. They dont see the context (along with all the politicians and psychologists) that changes the players perspective on the whole scenario. I admire the ambition of what Infinity Ward is trying to achieve; but I think that their attempt to expose the horror of killing the powerless will go straight over most gamer's heads which is a crying shame.

Heavy Rain is a rare thing, a poineer in the battle for games as art. I will be preordering my copy now ;)

Sunday, 1 November 2009

Cubey's Revenge

The animation principles that we had to include in this exercise, along with the ones already utilised, were the anticipation and overlap techniques. This invloves movements that the character makes leading up to and after the main movement. For example the character crouches down before springing into a leap, and bends to absorb the force after landing before returning to an upright position. Not particularly concise in my explanation but hopefully lucid enough that its not totally nonsensical.

This is my 2D attempt, it just went on and on, i kept having to fetch more clean paper from the cabinet saying to myself "I'll finish it in the next 20 frames..." only to run out of paper again. In the end it came in at a monstrous 58 frames. Though when i played it back at 24fps it was a little too speedy so I changed the playback speed in the software to 15fps which felt more natural. While the little Cubey moves well the larger Cubey lacks anticipation on his leap. He crouches but then he just lifts up without stretching upward first. Also it feels painfully short considering how long it took me to do 58 frames.

I thought I'd try and step it up with the 3D this week and put a lot more time into the task at hand. After my persp camera in Maya screwed itself up (probably with my help) Georg showed me how to create a new one and this lead to me animating it and creating an epic sweep to better encompass the different parts within the scene. Something I've noticed in other peoples 3D animations is the speed at which characters move, it sometimes can be a bit sluggish, so I thought I'd try and add a kind of snappy elasticity to my own animation. I think maybe the reason peoples animations are slower is because they are longer because of it so it looks like more work, the quality suffers because of this misconception. More rendering time too...
Anway here it is, im super proud of it, so before anyone says all show no go, watch the animation closely: